CSI
Coming Of Rage

Episode Report Card
Sobell: D+ | Grade It Now!
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"No, Sara, These Killers Are Teenagers. That Means They're Cowards."

The show eschews the normal shots of neon to give us a moody, sun-rises-over-Vegas shot. It's too bad it's an aerial shot and therefore too far away to see the gangs of people standing on the sidewalk pressing Dial-A-Hooker pamphlets into the sweaty palms of passersby, and the drunks stumbling up the street weakly saying, "Vegas! Woo! Omigod, omigod, I shouldn't have had the steak and eggs. Or those four giant Eiffel tower daqui -- BLEARGH."

So then we go from the shot of the strip through an aerial tour of the relentlessly bland suburbs to a construction site. The camera gets all arty as it lingers on the sight of a nail driven into a board.

From over on the couch, I get harassed with:

MABELL: Aren't you spending an awful lot of time writing about a nail?
ME: It's not just the nail. It's --
MR. SOBELL: There was a shot, and then there was a shot, and now there's a nail.
MABELL: I see.
MR. SOBELL: Yep. You're watching the sausage being made now. Shot by shot.
MABELL: And to think, by 10 PM tomorrow night, I might actually find out how this ends.

So. Someone nails the nail, and then we see someone sawing, and someone using a measuring tape, and then there's drilling and stapling, and it's all making me really want to head back to Home Depot and get a few more power tools, because I could so totally use one of those laser-sighted levelers, and maybe a stud finder.

Some non-hardhat-wearing guy goes wandering into an unfinished room ("OSHA would close them down in a heartbeat," snorts Mabell) and sees a body lying on the floor. He drops the box and calls, "Boss! Boss! We got a problem." Boss gets off the ladder, and we see that it's David Silver. I think the job site's problems have been compounded.

Within mere seconds, the place has been festooned with crime scene tape, and Gil is ducking some of it to enter the crime scene. He looks like he's taken the appellation "bug-man" to heart and found the pair of sunglasses that most makes him look like a fly. Gil finally walks into the room -- i.e. an unfinished structure hung with plastic sheeting, which makes me, 1980s MTV viewer, automatically look for a one-hit-wonder rock band because I'm conditioned to expect videos in settings like this. Anyway, Brass is sitting on his haunches. They both look at the body -- a teenaged male lying prone, with his pants around his knees and a lot of blood around his head. Gil takes the glass-half-full approach with, "Well, clean surfaces make for clean analyses." Brass thinks that's probably the only bright spot in this tableau, as the dead kid has no ID on him and he was killed some time this weekend. Gil hunkers down and notices a piece of red fabric clutched in the kid's hand; Brass asks if Gil's going to pry the cloth out of the kid's hand. Gil's going to wait on that. Brass asks if Gil has any ideas on what happened. Gil replies, "Well, based on the pants around the knees, I would say a crime of passion. Given the brutality of it, it seems to me an act of rage."

The Who are pretty mellow when they ask us who we are. No rage there.

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